Please provide three quotes from To Kill a Mockingbird that describe the reasons why Atticus should not try to defend Tom Robinson.

The three reasons Atticus should not defend Tom Robinson are as follows: it brings antisocial and professional stress to his life; it brings antisocial and adversity to his children's lives; and he won't win the case anyway. First, the unneeded stress to Atticus himself is compounded because he is older (in his fifties), a widower, and is raising two children. When he first discusses the situation with his daughter Scout, he says the following:

". . . simply by the nature of the work, every lawyer gets at least one case in his lifetime that affects him personally. This one's mine, I guess" (76).

Atticus is trying to tell Scout about how this is affecting his work and his life so that she will behave like an upstanding young lady, thereby, not causing him more things to worry about. He also takes the time to prepare her for the adversity she will probably continue to face because of the trial.

"You might hear some ugly talk about it at school, but do one thing for me if you will: you just hold your head high and keep those fists down. No matter what anybody says to you, don't let 'em get your goat. Try fighting with your head for a change. . . it's a good one" (76).

Thus, some would argue that if Atticus simply refused to take the case, then he and his children would not have had to deal with such stress in their lives. In fact, Scout gets into fights with Cecil Jacobs and her cousin Francis to defend her father's honor; and, Jem loses his head and takes out Mrs. Dubose's flowers because she calls Atticus horrible names.

Finally, because the case is lost before it begins, Link Deas, a businessman in town, tells Atticus that he's got everything to lose from defending Tom Robinson. Atticus doesn't think so and responds as follows:

"Link, that boy might go to the chair, but he's not going till the truth's told. . . And you know what the truth is" (146).

The above quote demonstrates more social and professional stress applied to Atticus, but it also shows that he knows that the trial is a lost cause even before it begins. A black man's word against a white man's in Alabama in 1935 is sure to be lost because of the unequal balance of power in the judicial system at the time. Atticus knows this, but he does his best to give Tom Robinson the best defense possible anyway.

`int x^2 e^(x^3) dx` Evaluate the indefinite integral.

You need to evaluate the indefinite integral by performing the substitution `x^3 = t` , such that:

`x^3 = t => 3x^2dx = dt => x^2dx = (dt)/3`

`int x^2*e^(x^3) dx= (1/3)int e^t dt`

`(1/3)int e^t dt = (1/3)(e^t) + c`

Replacing back `x^3` for t yields:

`int x^2*e^(x^3) dx=  (1/3)(e^(x^3)) + c`

Hence, evaluating the indefinite integral yields `int x^2*e^(x^3) dx=  (1/3)(e^(x^3)) + c.`

Who are the major characters in The Phantom of the Opera?

There are a lot of important characters in the Phantom of the Opera, so I will try to list them all:

• The Phantom of the Opera (aka Erik, the Opera Ghost, and the Angel of Music): titular character, lives beneath the opera house, falls in love with Christine as he teaches her to sing.


• Christine Daae: daughter of a famous Swedish violinist, a soprano singer at the opera, the Phantom falls in love with her.


• Raoul (the Vicomte de Chagny): Christine's friend from her youth, new patron of the opera, Christine's other love interest (and the eventual winner).


• Philippe (the Comte de Chagny): Raoul's brother.


• Armand Moncharmin and Firmin Richard: the new owners of the opera.


• Madame Giry: looks after the patrons who sit in the boxes, serves as a sort of liaison between the Phantom and the others in the opera.


• Meg Giry: Madame Giry's daughter and a dancer in the ballet.


• The Persian: a friend from the Phantom's past.


• La Carlotta: the lead soprano at the opera, Christine's predecessor.


• Joseph Bouquet: works backstage, provides first description of the Phantom, hanged by the Phantom.


• Debienne and Poligny: the previous owners of the opera.


• Madame Valerius: Christine's guardian after the death of her father.

There are other minor characters, but these are the ones who are most important to the story.

`xy = 1, y = 0, x = 1, x = 2` Find the volume of the solid obtained by rotating the region bounded by the given curves about the specified...

By using Washer method, we can find the volume of the solid.

`V = pi*int_a^b(f^2 (y) - g^2 (y) dy f(y)gtg(y) `

Since the curve is bounded by x=1 and x=2, then y-values are bounded between 0 and 1. If you graph this curve and bounds, you'll see that we have to split the integral into 2 separate integrals.

First Integral

The first one will be bounded between y=0 and y = 1/2. 

From y=0 to y=1/2, the area being revolved around x=-1 is just a rectangle. The outer radius is x=2 and inner radius is x=1. 

So, 

`V_1 = pi*int_0^(1/2) (2-(-1))^2 - (1-(-1))^2 dy `

`   = pi*int_0^(1/2) 9 - 4 dy `

`   = 5pi*1/2 `

` V_1  = 5pi/2 `

Second Integral

Now, the second region is bounded from y=1/2 to y=1 and the outer function is x=1/y and the inner function is x=1. 

So, 

`V_2 = pi*int_(1/2)^1 (1/y-(-1))^2 - (1-(-1))^2 dy`

`       = pi*int_(1/2)^1 1/y^2+2/y+1 - 4 dy`

`       = pi*int_(1/2)^1 1/y^2+2/y-3 dy`

`       = pi|_(1/2)^1 -1/y+2lny-3y `

`V_2 = pi(ln4 -1/2)`

Adding it all together

Now that we have the volumes of the 2 different regions, we can add them together to get the total volume.

So, `V= V_1 + V_2 = 5pi/2 + piln4 - pi/2 = pi(2+ln4)`

`V = pi(2+ln4)` is the final answer 

I need to write a paper based on the style and structure of Alain de Botton, on the wedding of the future and how to invent a new way of doing...

I think people want to get married to end their emotional uncertainty. In a way, they want to end powerful feelings, or certainly the negative ones. (Alain de Botton).

The quote above perfectly exemplifies Alain de Botton's style and structure of writing, especially on the subject of love and relationships. On love, he states that our modern age has given birth to the idea that we can center all our hopes for romance, eroticism, and familial security on one person. Additionally, we shy away from our negative feelings instead of using the feelings as a springboard for discussion and personal discovery within our relationships. Alain de Botton's honest analysis of marriage is refreshing and intriguing.

While the Troubadours of 12th century France and the Libertines of 18th Century France both viewed sensual dalliances as separate from familial entanglements, de Botton states that our modern culture has largely sought to combine elements of eroticism with the mundane, with often disastrous consequences.

He cites the novels of Jane Austen as the point of emergence of the modern conception of romance.

Like Elizabeth Bennett in Pride and Prejudice or Fanny Price in Mansfield Park, we too long to reconcile our wish for a secure family with a sincerity of feeling for our spouses.

Yet, Elizabeth Bennett's later predecessors, Madame Bovary and Anna Karenina, both failed to realize their dreams of making over their spouses into 'husbands, troubadours and libertines.' Hence lies the conundrum of the modern romance. How do we combine all three successfully in one person?

Source: A Point of View: What's in a marriage? by Alain de Botton.

Alain de Botton displays a style of writing that is compassionate, honest, and open. He notes that it is possible to infuse romance and eroticism into a familial construct, but warns that the odds are stacked against us unless we change what is familiar for what is efficacious. He recommends a new paradigm for the wedding of the future.

The problem is that the wedding day is – in its current form – an appallingly badly designed ritual. It needs a thorough overhaul, guided by a mature, modern understanding of the underlying purpose of the occasion, which is simply to help a marriage go better.

Here's an interesting and sometimes tongue-in-cheek approach: Utopia Series: The Wedding of the Future.

1)The need for new vows.

The wedding day is so infused with optimism that it leaves no room for lapses in human judgment after the ceremony and within the new marriage. A new way of doing things would be to invent vows which account for the diversity of human emotion within a relationship. In other words, feelings of sadness and anger within a marriage should not automatically lead to one concluding that the relationship is headed for divorce.

2)The guests.

Although big weddings are still popular, smaller weddings are becoming more important to many couples. Whether the wedding of the future trends towards big or small events, one thing still stands: the inclusion of guests who support and welcome the union of each couple. A fresh perspective would welcome the idea of weddings as encompassing a larger societal stability rather than the preservation of the couple's happiness alone.

3)Useful presents, especially those delineating the struggles of real couples who have endured the challenges of life together.

4)Reception speeches which not only extol the good qualities of the bride and groom but also their less than stellar ones.

5)A certificate of marriage worthiness to represent the couple's year long training in the 'psychology of relationships' prior to the wedding day.

6)Fitting symbols to enable a newly married couple to cope with life's vicissitudes.

In the Utopia, the couple would accept small sealed boxes from each other. The box would represent the idea that there will be parts of the other person one will not understand – or perhaps even know – and yet one will have to accept. 

7)Wedding photos which answer pertinent questions as time commences in the marriage:

(i) Why did we get together?

(ii) What virtues did we see in one another when we got married?

(iii) What impact does each person’s family have on the relationship?

(iv) How normal are marital problems in society at large?

Source: Utopia Series: The Wedding of the Future

Hope this helps!

What is the mood of the poem "The Raven?"

Many words could be used to describe the mood in Edgar Allan Poe's brilliant poem "The Raven." In a single word, it can be considered "Gothic," which you can read more about in the link below. More specifically, however, the mood is mysterious, melancholy, and even morbid.

Mystery pervades the poem from the beginning to the end. At first there is a mysterious rapping that the speaker believes is someone tapping on his door, but when he opens the door, he sees only the dark night. The rapping continues, and he realizes it is now at the window. Opening the window, he is at first pleased at the surprise visitor that flies in, and he tries to guess how it may have come to him. When he asks it what its name is, and it responds, "Nevermore," however, he becomes even more intrigued and tries to imagine its background and how it came to be able to speak such a doleful word. When it speaks again, he begins "linking fancy unto fancy" and "guessing" about the bird. The reader shares the speaker's curiosity. He then begins ruminating about his lost Lenore, and the reader wonders about that relationship. Finally, in the last stanza, rather than being solved, the mystery continues as the reader wonders whether the speaker's soul ever will "be lifted" from out of the shadow of the raven.

The melancholy mood is set up by the loneliness of the speaker and the darkness of the night. When the speaker posits that the raven will leave him like "other friends have flown before," and as his hopes have flown before, we feel his sadness and despair. It isn't long before the speaker begins obsessing over the worst of those losses, namely his "lost Lenore." The very sound of those words together creates a moan that we can feel in the depths of our being. He longs for "respite and nepenthe," a potion that could make him forget his sorrow. The raven's consistent reply of "Nevermore" is itself a very melancholy word and concept, suggesting that whatever happiness may have once brightened the world will never be felt again. Finally, the final stanza creates a powerful image of melancholia, the term that in Poe's day was used for depression. The speaker's soul abiding forever, trapped beneath the shadow of "Nevermore," is a sad picture indeed.

The morbid tone of the poem comes from the speaker's focus on death, specifically Lenore's, but also his own and death in general. The word "Plutonian" speaks of Pluto, the ruler of the domain of the dead. Other words that refer to the afterlife are Aidenn, angels, and nepenthe. According to mythology, nepenthe was a drink offered to the dead as they crossed the river Styx into Hades so that they would forget their lives on Earth. In the fifth stanza, the speaker is so immersed mentally in thoughts of death that he believes the tapping at his door and window could be the ghost of Lenore; that is why he whispers her name. 

The mysterious, melancholy, and even morbid mood of this poem have been haunting reader's since it was penned by the literary genius Edgar Allan Poe.

What does Reverend Sykes say about his experiences in court in To Kill a Mockingbird?

During the trial, Jem discusses the court proceedings with Reverend Sykes.

In Chapter 21, Reverend Sykes says Judge Taylor has been fair in his address to the jury. In the Reverend's opinion, the judge refrained from publicly taking sides on the case; instead, he has merely charged the members of the jury to vote according to their best judgement. Reverend Sykes's direct quote is,

Oh, he did right well. I ain’t complainin‘ one bit—he was mighty fair-minded. He sorta said if you believe this, then you’ll have to return one verdict, but if you believe this, you’ll have to return another one.

Reverend Sykes believes Judge Taylor leans a little toward their side in the matter of Tom's innocence. Upon hearing this, Jem pipes up that as an arbiter of justice, Judge Taylor is supposed to be impartial. Jem also states he's confident Tom will win his case.

For his part, Reverend Sykes isn't especially hopeful. He says his experiences in court have been largely the same: he's never seen any jury decide in favor of a black man over a white man.